24 posts tagged "Dior"
Out of every Oscars race emerges a new star that captivates both Hollywood and the fashion world in equal measure. This year’s newly minted It girl is Lupita Nyong’o, the 30-year-old Kenyan beauty who is expected to score a supporting actress nomination for her standout performance as Patsey in Twelve Years A Slave (she appears on the cover of The Hollywood Reporter today with the likes of Julia Roberts, Amy Adams, Octavia Spencer, Emma Thompson, and Oprah). It’s not just her sartorial choices that are garnering her lavish praise—the lipstick she wears on the red carpet has also become somewhat of a signature during her short time in the spotlight. Unlike other actresses who mostly go back and forth between nudes and reds, Nyong’o constantly switches it up.
Her makeup artist, Nick Barose, takes a cue from the bright, colorful shades of the seventies—sharing all his reference pictures with the starlet. “When I was growing up in Thailand, I loved flipping through my mom’s old fashion magazines. Makeup used to be so colorful and brave,” Barose says. A vintage Scavullo photo of Iman sparked the orange hue Nyong’o sported at the Hollywood Film Awards in October, an Escada ad from the eighties was his motivation for the purple metallic mouth she wore to the recent AMPAS Governors Awards, and Carol la Brie’s Vogue Italia cover was the jumping-off point for the violet lips and eyes that couldn’t be missed on the red carpet for the L.A. premiere of her latest film. Barose also borrows ideas from his favorite beauty icons. For example, Billie Holiday was the inspiration for the “not-too-in-your-face” red lip look the actress wore to the Toronto Film Festival in September, Diana Ross influenced the glossy, flesh-toned pout seen at the Sacai dinner, and at the BAFTA Los Angeles Britannia Awards, Nyong’o flaunted brown lipstick flecked with gold like a nineties Lauryn Hill. Our only question is what can’t she pull off…or rather, slick on?
On Lupita, above, clockwise from left: Tom Ford Beauty Lip Color in Wild Ginger, MAC Mineralize Rich Lipstick in Midnight Mambo, Dior DiorAddict Gloss in Cygne Noir with Sisley Ombre Glow Eyeshadow in Gold dabbed on center of lips, Jouer Hydrating Lipstick in Monique, NARS Guy Bourdin Cinematic Lipstick in Full Frontal, and Votre Vu French Kiss Moisture Rick Lipstick in Margaux.
There was no shortage of the precious metal backstage this past season—everything from deep side parts to lashes were given the gilt trip at Dries Van Noten, while gold glitter was liberally sprinkled onto lids at Jason Wu. And Dior’s latest advertorial efforts (the fourth Dior Magazine) offers a brilliant display of the metallic hue, on model Karlina Caune, to celebrate the label’s Golden Winter makeup collection. Jean Cocteau is even said to have told the designer that his surname, when broken down in French (dieu and or), translated to “God of Gold.” If the last page of this issue’s beauty feature (seen here) and the auriferous eyes at the house’s Spring 2014 runway show are any indication, crowning Christian with this particular title was right on track.
I often find the fresh-faced look and classic pink lip gloss snooze-fest, but at last night’s opening of Esprit Dior, Miss Dior, in Paris, Natalie Portman made all of the above interesting again. Dense and flirty lashes (a trend we saw this past season at Versace) and a slick side part (reminiscent of Helmut Lang) lent both a feminine and masculine edge. The beauty concept even seemed to echo her ensemble, in which she paired simple black trousers with a bold beaded top. Talk about a package deal.
This week, Dior will inaugurate an exhibition in tribute to the brand’s original, groundbreaking perfume, Miss Dior, at the Grand Palais, in Paris. Launched by Christian Dior in 1947, Miss Dior was named for his beloved sister, Catherine, and its green chypre blend was a bold break from the powdery fragrances of the day—a gambit, like the New Look, that became an instant hit. For the Miss Dior exhibition, the house gave carte blanche to fifteen female designers from all horizons, whose challenge it was to reinterpret the spirit of the fragrance. In an exclusive preview, Style.com spoke with Ionna Vautrin, who took the iconic Dior silk glove and spun it into an architectural feat called Gloriette.
You’ve won two Wallpaper awards (in 2009 and 2011), as well as a prize from the City of Paris, for your creations. Is that why Dior reached out to you for this project?
I don’t think it was because of any one piece. I think it was probably more of a whole. My work is rather feminine and maternal, and I’m guessing that that is what brought me to their attention.
How did the collaboration come together?
It all took shape very simply. When I met with Dior, they presented to me the history of Miss Dior and its codes—the bow, the houndstooth, the dresses, et cetera. Gloves, of course, were a part of the story. I was intrigued by the idea of diverting that shape into a more decorative element that evokes an iconic fragrance.
How did you go about creating Gloriette?
That part wasn’t necessarily so simple! I finally came up with the idea of creating a kind of “micro-architecture” that was somewhere between couture and architecture. I found a very silky technical fabric and had it made into thousands of gloves. Gloriette speaks to a lot of the house codes at once: The layers of gloves that make up the roof create a kind of rosette, or flower; it also suggests a tutu or a dress or a fan, but at the same time, there’s also kind of an animal appeal—it could be feathers on a rare bird. In the end, Gloriette is a giant kiosk, a bit like the luxurious Follies Dior designed to present his perfumes, but in an XXL version.
What does it say about the perfume?
The roof picks up the Miss Dior color codes of black, white, and pink, of course. But what I find even more compelling is that it stimulates the imagination around the creation of perfume: It is something you pass through. You can linger or not, but it is something that you can use and spend time with. Where this fits in with my work is that you can look at it and see many things at once. Lots of different impressions come together whether you are looking at it from the inside—which is like standing under a crinoline—or viewing it from the outside. That said, I am a designer; I don’t consider myself an artist.
For you, what’s the difference between art and design?
The difference for me is that, as a designer, I am in the habit of creating things that should be useful and functional: A chair should be useful every day. I look at design as sitting at the intersection of what is practical and utilitarian—and technical in terms of production—but also sculptural, because an object should spark desire. I think there’s an earthy quality to design. I love telling a story, but I’m not looking to make a political statement. An object’s first purpose is to be functional.
How does design differ from fashion?
For me, fashion is a separate art. It’s a bit like sculpture. When you look at what Christian Dior was doing, it was very sculptural. Creating silhouettes demands know-how, good taste, precision, and sophistication. You have to have a keen sense of detail. It’s really a very special, specific profession. It really demands that you dedicate your life to it, and it’s reinvented constantly.
Did Miss Dior alter anything about how you see design?
This was a chance for me to have a project that was just a little bit zany. I think I am more known for designing small, domestic objects, and Miss Dior allowed me to explore new territory on a few levels. Because the show is designed to travel, it presented a specific set of challenges. Everything has to disassemble and reassemble easily, like Legos. It made me want to explore scenography and micro-architectures.
How familiar were you with Miss Dior before this project?
Obviously, I knew the bottle, because it’s an icon. Beyond that, funnily enough, years ago I got my start working in a design studio that only did perfume bottles! So I knew Miss Dior’s shape, fragrance, and a bit of its history. It’s amusing to have gone from a time in my life when I was designing perfume bottles—not for Dior, mind you—to finding myself on the flip side, telling a story about a perfume through a decorative piece. For me, Miss Dior is a classic, like any other emblematic object. It’s a reference. And there’s also the fact that, in its day, Miss Dior was renegade. It’s the radical side that I find the most touching.
The Esprit Dior, Miss Dior exhibition will be on show at the Grand Palais from November 13 to 25, 2013.
Throwback Thursday is a column on Beauty Counter in which we pore over the pages of our favorite glossies from decades past in search of a little modern-day makeup and hair inspiration.
The Model: Guinevere Van Seenus
The Moment: Heavy Metal Eyes
The Motivation: Perhaps it’s our obsession with all things sparkly, but metallics (silver in particular) have never seemed more appropriate. And thanks to makeup artist Pat McGrath’s handiwork at Dior’s Fall 2013 show, platinum liner has become one of our favorite beauty looks to date. For some otherworldly inspiration, however, we’re looking to this shot of Van Seenus. Her foiled lids, combined with a futuristic widow’s-peak haircut and ombré lips, make a case for going a little overboard with a trend.